CHORDS IN THE LIGHT OF THEIR ORIGIN 257 



sider the conclusions to be drawn from the facts 

 adduced from these analyses. 



Our tone-material thus far accounted for admits of 

 a brief presentation of two other groups of compound 

 chord-structures both of which are very common and 

 have proved puzzling and difficult to account for and 

 explain by means of the arbitrary principle of super- 

 added thirds, a principle which in no way applies to 

 them. The first of these groups of chords are com- 

 pounds of repose-tones and cadence-tones, that is, of 

 stable and unstable tones. The second group com- 

 prises chords with superfix- tones, infix-tones and sub- 

 fix-tones, that is to say, chords with a tone added 

 above, between or below. Our next parallel exam- 

 ples present compound chords of the first group. 



53 5,3 353 3 

 a)^ 1 1 1 6)1 1 1 c)l 1 1 1 



In 

 Major 



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T r 



iis 



3 



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